Following on from their second album (Divine Invasions), collaborations with Welsh poet Autumn Juvenile and Polish Artist Michal Iwanowski, plus an R.E.M cover, Daniel Barnett and drummer/producer Andrew Sanders -aka electronic postrock duo RITUAL CLOAK – present their single, ‘Shell’ which is about being in a dream where you’re constantly searching for someone but never quite finding them.
It’s an idea that’s been floating around for a few years and gone through a number of different versions before becoming what it is now. Originally Shell was written for acoustic guitar and had a completely different feel. Dan remembers re-listening to Metals by Feist and being inspired by the dramatic intimacy of the album, leading to Shell being rewritten for piano. When the song was brought to the studio Sanders suggested taking the vocals outside of the usual comfort zone.
The inspiration for this method of production was taken from Bon Iver and Mogwai, experimenting with vocoder and the deliberate use of autotune for the first time. As a result the song entered new musical territories, and served as a reminder to ourselves that there are no rules in what we do. Have a listen below…
London-based singer, songwriter and producer PAIGE BEA‘s EP ‘Goodbye, Then!’ – self-released via The Orchard – re-establishes her within the alternative pop landscape after a 2 year hiatus from releasing music. To date, the EP has received wide acclaim and support from BBC R1 (Jack Saunders), Spotify (Fresh Finds UK & IE), COLORS, The Line Of Best Fit, CLASH Magazine, Wonderland, The Rodeo, New Wave Magazine, enfnts terribles, The Pit LDN, Wordplay Mag and more.
Influenced by acts such as FKA Twigs, Tirzah, Caroline Polachek, Jockstrap, James Blake and Sampha – those sonic touch points are evident within Paige’s avant-garde, unpredictable productions as she melds spiralling pop hooks and boundary pushing instrumentals, with timeless songwriting and self-aware lyricism. ‘Goodbye, Then!’ sees the artist uniting with producers Leo Wyatt (aka KINDER) and Jonjo Keefe (Park Hotel).
The six-track EP explores the obsessions and projections that come with all relationships. From lustful beginnings (“4×4”) to shaky middles (‘Autopilot’ and ‘Melt’), bitter ends (‘Stay Still’) to rose-tinted re-imaginings of the past (‘The Quiet Of The Hours’ and ‘Goodbye, Then!’) – the music aims to chart how warped perceptions of romantic relationships directly lead to their downfall. Part catharsis and part warning signal – the songs are an attempt to take back the narrative and add some much needed glamour and thrill to the tricky process of letting go.
“The production, lyrical themes and aesthetics surrounding ‘Goodbye, Then!’ are a slow sharpening of my sense of self,” Paige explains. “It starts dark, murky and jagged and eventually reaches a place of clarity and peace. The maximalist approach to the EP is a significant contrast to how small I was made to feel – and that was important. These songs are about making myself the main character again and I want this EP to make those who listen feel empowered, sexy and resolute in stories of their own heartbreak too.”
‘Goodbye, Then!’ is out now for your inspection…have a peep below…
Coming quickly off the back of their previous single ‘Bleak Moors’, Manchester punks TOKEO continue to explore the stark realities of life amongst Manchester’s forgotten mill towns on their single, ‘King of the Town’, the final track taken from their forthcoming debut album, ‘Class Traitor.’
A cathartic triumvirate of punk, rock and rap, the quintet have distanced themselves from much of their Manchester contemporaries through their angst-fuelled take on northern post-punk, preferring instead to shed light on the discrepancies faced by those growing up in areas ignored by wider government.
Indeed, these politics, and this anger are what allow TOKEO to stand apart from a local scene too often concerned with vintage leather jackets and virtue signalling to really care about the wider local area. And on ‘King of the Town’, this vitriol really boils over. A dystopic and tongue in cheek take on misplaced admiration, it’s a blisteringly scathing attack on small-town syndrome.
With each release harbouring more piss and vinegar than the last, it’s obvious that TOKEO are a band unimpressed with the current way the UK is heading, and we shouldn’t be too. At a time when the costs of living are soaring, and the UK government is nothing more than a self-spiralling shit show, the outlook is bleak, and while the band might not offer any respite from that, they certainly provide some much needed catharsis. Have a listen to ‘King of the Town’ below…
FRANZ VON has shared his highly anticipated EP ‘People Di Powa’ alongside lead single ‘Asem’, featuring the unmistakeable flow of prolific Ghanaian vocalist, K.O.G.
Fusing tribal hip-hop with elements of jazz, dub and afrobeat, the EP blends powerful spoken word and rap with social commentary and explores the ongoing issue of systemic oppression. ‘People Di Powa’ is a reminder that we are powerful as individuals and even more so as autonomous communities.
Fittingly for an EP about community, Franz is joined by a talented cohort of special guests lending their vocal talents – Cortney Dixon, Nikisha in the Woods, Cynthia Bahy, and K.O.G. all feature whilst the production is a collaboration from Tom Excell (Nubiyan Twist/Onipa), Lucian Oniell, Labo Klandestino, Mark Stoney, and Toni Smoke.
The EP opens with Franz Von’s trademark bouncing flow on ‘We All Rise’ – “Indulging in the depth of the riddim / The realest therapy the remedy / Medicated taking doses of melodies / Boost the energy sacred chakra replenishes so effortless the specialist” before Nikisha in the Woods adds her vibrant vocal hook.
Next up is ‘Power Be You’, the centrepiece of the EP’s message of empowerment that encourages listeners to engage and embrace their inner strength. Cynthia Bahy features on previous single ‘Her Frequency’ – a song of hope and gratitude focusing on renewing our inner strength and connection with the infinite power of the universe.
Standout track on the record ‘Asem’ – which means ‘problems’ in the Ashanti language ‘Twi’ spoken in Ghana – is an upbeat, genre-bending banger which infuses Boom Bap hip-hop and rock whilst long-term collaborator K.O.G. shares a fierce delivery.
Speaking about the single Franz says, “Asem is a bold and rebellious social commentary rap. The song touches on the effects of systemic oppression on marginalised communities. Asem has a message of the connection and togetherness that can be found in collaborations between different communities”.
The EP closes with ‘Slipstream’ featuring Cortney Dixon, a slick rap cruiser with a hazy hook that compliments Franz Von’s striking tone perfectly.
A project packed with substance and meaning, ‘PEOPLE DI POWA’ is a much-needed breath of fresh air in Black British music.
Previous support for Franz comes from BBC Introducing Sheffield and Amazing Radio who handed him a one-off show, as well as BBC Introducing at Radio 1 and DJ Target at BBC 1Xtra, Ministry of Sound, Naga Mag, Word Is Bond, Groovin’ Mood, and more.
Franz Von is a Jamaican-born, UK-based artist exploring traditional cultural lineage from Africa through to modern genres. After 8 years playing with K.O.G and the Zongo Brigade, Franz Von has collaborated with the likes of Tony Allen, Onipa, and Wiyaala.
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